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Burke’s poetic (Miltonic) reading of the sublime
Eva Antal

11  Transgressing the boundaries of reason: Burke’s poetic (Miltonic) reading of the sublime Eva Antal ‘many of the objects of our inquiry are in themselves obscure and intricate’ Edmund Burke, ‘Preface’, A Philosophical Enquiry1 ‘as the saying is, Homo solus aut deus, aut dæmon: a man alone is either a saint or a devil’ Robert Burton, The Anatomy of Melancholy2 The sublime experience in the Age of Reason In his inspiring book, ‘The Stranger Within Thee’: Concepts of the Self in Late-Eighteenth-Century Literature, Stephen D. Cox, while elaborating on the

in Writing and constructing the self in Great Britain in the long eighteenth century
Theorising the Cybergothic
Isabella van Elferen

This article theorizes the transgressive faculties of cyberspace‘s Gothic labyrinth, arguing that it is haunted by the ghost of material/information dualism. This ghost is embodied in cybergoth subculture: while cybergothic music creates a gateway to the borderland between biological and virtual realities, dancing enables cybergoths to transgress the boundaries between the two.

Gothic Studies
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Vampires, Lesbians, and Women of Colour
Victoria Amador

The lesbian community of colour in America has been largely overlooked amidst the current popular culture mania for all things vampiric. Yet the complex ambiguity of the lesbian vampire very readily lends itself to women of colour, who frequently explore in their gothic fiction the intersections of gender, sexuality, race, class, assimilation, and the transgressive significance of the vampire myth. This essay discusses two works by African-American Jewelle Gomez and Chicana- American Terri de la Pena as lesbian Gothic romantic fiction, as feminist affirmation, and as prescriptive, community-building activist discourse.

Gothic Studies
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Genre, Transformation, Transgression
Paulina Palmer

Palmer discusses Caeia March‘s Between The Worlds (1996) and Sarah Walter‘s Affinity (1999). Palmer argues that writers of lesbian fiction are drawn to the Gothic because it is a form which has traditionally given space to the representation of transgressive sexualities. The Gothic is also a vehicle through which the interrogation and problematising of mainstream versions of reality and so-called ‘normal’ values is made possible. Palmer argues that these novels parodically rework the grotesque portrayal of character, which is familiar from mainstream Gothic fiction and film, and in doing so they challenge and resignify the category of the abject to which lesbians and gay men are conventionally relegated.

Gothic Studies
Val Scullion

This essay proposes that the polyphonic and transgressive aspects of Gothic forms are influenced by music. It examines formal connections between the sonnets of Sturm und Drang poet, Friedrich Hölderlin, their musical setting by Benjamin Britten, and Susan Hill‘s novel The Bird of Night, arguing that Hill and Britten have, in common, processes of writing or musical composition which mix together disparate discursive or musical components. These inter-genre borrowings suggest that the sound and compositional practices of certain types of music allow for the expression of tensions, dualities, transformations and extreme states of mind which the Gothic novel has developed its own tropes to express.

Gothic Studies
David Del Principe

Del Principe argues that a compelling historical and political vision of post-unification Italy lies beneath the preternatural façade of Ugo Tarchettis Fantastic Tales, and that the authors transgressive approach to social realism is a reflection of the vast, cultural transformations of the period. Del Principe proposes correlations between sexual and political realms surfacing in Tarchettis narrative as indicators of mutating class structure and emerging capitalism. An examination of spatial allegories engages a discussion of psychic and physical modes of hysteria and xenophobic reactions that stem from the nationalistic fervor of post-unification Italy.

Gothic Studies
The Kinship Metaphor in the Age of Byron
Michael Macovski

Although many Gothic novels conclude with contained restorations of patrilineal inheritance, others subvert primogeniture by perpetuating birthright through a non-traditional line. Such transgressions of Gothic primogeniture become even more pronounced during the Romantic era - particularly in the works of Byron, such as Cain and Don Juan. In the latter, Juan‘s nuptial dilemmas reflect several primogenitary issues of deep concern during the eighteenth century - including the preservation intact of patrilineal property, the containment of an increasing marriage age, and the extension of political alliances through marital exogamy. At the same time, these primogenitary issues also reveal a striking parallel between the handing down of inheritance and the handing down of texts. Finally, such a parallel also extends to the economic foundation of both inherited and textual property. As a result, Byron‘s poetry links both realms to Malthusian demographics, female commodification, and the paper currency crisis of the era.

Gothic Studies
Gothic, Romantic and Poetic Identity in Shelley‘s ‘Alastor’
Spencer Hall

This essay considers the relationship between Gothicism and romanticism and explores the impact of postmodernist constructions of a ‘new Gothic’ on contemporary views of romanticism. It argues that the former has affected the latter not only by foregrounding the presence of darker elements in the discourse of romantic idealism, but also by demonstrating the ambiguous continuities and conjunctions within that discourse between transcendence and transgression, idealization and dissolution, eternity and temporality. Taking ‘Alastor’ as an example, the essay seeks to show how the poem draws upon the legacy and the vocabulary of Gothicism to problematize the quests for transcendence and poetic identity that form its core. The essay argues, further, that Shelley, as a second-generation romantic, draws upon the Gothic to express his skepticism about and to explore the antithetical elements in first-generation Wordsworthian romanticism.

Gothic Studies
Money, Commerce, Language, and the Horror of Modernity in ‘The Isle of Voices’
Robbie Goh

Money, not merely as subject in literature but also in its very form and function, exhibits qualities of spectral evanescence, fetishised power over the imagination, and the uncontrollable transgression of boundaries and limits, which closely parallel the concerns and anxieties of Gothic literature. Yet it is in the writings of economic theorists and commentators on market society like Adam Smith and Karl Marx that these Gothic anxieties about money are most clearly articulated. Stevensons short story ‘The Isle of Voices’, read in the context of his comments on money in his other writings, is one of the few fictional texts which uses these properties of money to create what might be called a ‘financial Gothic’ narrative, which nevertheless has insights and implications for the narratives of capitalist modernity in general.

Gothic Studies
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Aspects of Gothic in Dickens‘s Fiction
Gill Ballinger

In recent years Dickens‘s use of Gothic has been the focus of some diverse and absorbing critical interpretations. This paper seeks to address in more detail the ways in which Gothic features in Dickens‘s various responses to the law in his work. Scenes of madness, hauntings and murder all feature as ways of punishing transgressive individuals in the form of melodramatic substitutes to state law in OliverTwist and Barnaby Rudge, and the Gothic affects justice in later novels such as LittleDorrit.,As Bleak House illustrates, the Gothic also enhances the horror of the law. Dickens employs the genre in different ways within specific texts, such as ThePickwick Papers. How the diverse uses of Gothic pertain to the law in Dickens‘s fiction are considered in this paper.

Gothic Studies